Reviewed by: M Archive. After the End of the World by Alexis Pauline Gumbs Chandra Frank (bio) M Archive. After the End of the World by Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2018, 248 pp., $82.45 hardcover, $19.02 paper. How would future archives and archivists interrogate life beyond the present? What does Black feminism look like "after the end of the world"? For feminist and queer research and activism, the archive is a generative and yet complex site that continuously poses questions on racialized and gendered power structures. Black feminism and queer of color critique have challenged the conditions of existing archives and discussed the possible future of archival research for next generations. In this sense, the M Archive: After the End of the World by Alexis Pauline Gumbs opens up a set of questions on how archives are not only rewritten, but also reconstituted for a Black feminist speculative project. The archive emerges here in a new form that provides innovative methodological and theoretical insights on relationality. The arrangement of the book enables the positioning of the archive not as an end-goal, but rather as contemplation, an opening, and source of ancestral knowledge. The M Archive is written in the space between refusal and embrace. The book breathes a refusal to write known grammar and embraces an unmapped universe full of traces of the lives of new stories. The M Archive is the second iteration of a planned experimental triptych by Gumbs. The work engages with the groundbreaking Pedagogies of Crossing by M. Jacqui Alexander. Through offering a set of poetic artifacts, Gumbs uses a Black feminist speculative approach to the archive and unpacks the conditions of living "after the end of the world." Similar in format to Gumbs's earlier book Spill: Scenes of Black Feminist Fugitivity, which was written in engagement with Hortense Spiller's work, the M Archive footnotes every poetic offering with a reference to Pedagogies of Crossing. The book offers a set of necessary and stimulating interventions that grapple with "late capitalism, antiblackness, and environmental crisis" (Duke University Press description, back cover). This is a generous work that challenges dominant views that assume that ancestral speculative work has no place in feminist theory. M Archive is situated "after and with the defunding of the humanities," and will no doubt provoke questions about scholarly practice [End Page 214] and its location in the continuous unfolding of the academic institution (xi). Academic conventions and knowledge production are broken down by prose, which offers readers a set of possible guidelines to undo the default in their own practice. M Archive opens with "A Note" by Gumbs on its overall intention: "this book centers Black life, Black metaphysics, and the theoretical imperative of attending to Black bodies in a way that it does not seek to prove that Black people are human" (xi). Conversing with scholars such as Sylvia Wynter, M Archive brings a compelling Black feminist perspective on the conditions and possibilities of the human. Drawing on future witnesses, indigenous knowledge systems, and the making of geography, multiple worlds emerge. Conceptualized as "speculative documentary work," M Archive is "written from and with the perspective of a researcher, a post-scientist sorting artifacts after the end of the world" (xi). Throughout the work, Gumbs models creative practices of citation and purposefully writes the book with Black writers, thinkers, and artists such as Audre Lorde, Octavia Butler, Alice Coltrane, and Rihanna in mind. The deliberate, layered politics of citation recalls Sara Ahmed's Living a Feminist Life, in which she argues, "Citation is how we acknowledge our debt to those who came before; those who helped us find our way when the way was obscured because we deviated from the paths we were told to follow" (2017, 15). M Archive includes the "Periodic Kitchen Table of Elements" homage to Kitchen Table Press, referencing a broad range of text, sound, and cinematic work to guide the reader through the poetics of destruction discussed in the text. The book speaks to forms of self-imposed destruction from heavy reliance on the digital world to the remnants of racial capitalist and colonial production. Orientation and movement are...